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Mattotti Lorenzo: I will revive my old Huckleberry Finn. The concert

(L'Unità, 17 February 2011)
______________________ Walking with Mattotti
Angouleme!

"The comic is made of paper, books. The desire to touch the subject, to get lost in the image are closely related to this means of expression "Lorenzo Mattotti begins entering the Musée de la Bande Dessinée d'Angoulême. That 's where we have agreed to meet Sunday, the last day of the International Comic Festival which devotes a lot of surprises this year. As the Palme d'Or for best roll won by Italy Manuele Fior and his 5000 kilometers per second (Coconino Press, 2010).

"I appreciate this talented young man who experimented with different techniques" says, "that is always looking for the most appropriate form to tell its stories. For example in the 'previous ( Miss Else , Coconino Press), since the adaptation of a story by Arthur Schnitzler, pays homage to the great artists of the Viennese Secession. So we can find a sudden, explicit references to the imagery of Klimt or Mucha, for to two names. The award-winning work, which has a flavor reminiscent of the graphic England of the sixties, I loved the story especially delicate and sensitive. A bubble can be described as almost an existential novel. "

But a sign that evolves not always run the risk of not being recognized?

"Actually, no. The personality of an author - what we call style, and that a formula is not given once and for all - it comes out very slowly. It 's good to keep working, find ways to express themselves are always different. It means having the ability to reinterpret and not to repeat only empty forms for speech recognition that certainly is related to visibility, which, however, primarily a commercial value. "

And the meaning of the Grand Prix awarded to Art Spiegelman?

"An award that had finally arrived. With Spiegelman won, again, the comic strip and research, what they do not retreat even in the face of self-reflection as a specific language. And Spiegelman, with his being author, scholar and adviser, is a perfect embodiment.

This gives us the opportunity to talk back to the museum. What are the elements that make it so interesting?

"I think that gives an answer satisfactory to the question: how to expose the comic? The mode of presentation is so oriented to the release, allowing a complete and satisfactory use of the material. The original plates are not just hung on a wall. You can get closer to the shrines in order to better appreciate the stroke of pencil or ink, which is important for an insider. But at the same time is all based on the original. There are prints made with care and all of excellent workmanship, the books for which these cartoons were made. So even the simple fan can be started in all phases of a comic book. Had I had the opportunity to have this information when I started to draw, "he adds laughing. "I remember once I went to Bonvi to show him my drawings and he, noting that all written in my balloon was wrong, he suggested to draw some parallel lines in pencil. A simple thing, which I had just thought. "

The visit continues. Stroll through the other visitors, then you sit in one of the spaces dedicated to reading with colorful sofas round tables near where they rested picture books that can be freely consulted. And that's where Lorenzo Mattotti shows us proofs of his forthcoming book: The Adventures of Huckleberry Finn that he designed when he was 23 years and has been published, but then never reprinted, by Octavian in Publisher 1978.

when you find it in bookstores?

"In France will be released next spring with Gallimard. In Italy we'll see. "

back to Angoulême, what did you find most interesting?

"There is a staff dedicated to Dominique Goblet. I really appreciate his way of drawing. Each section expresses strength, allows you to see the work of the muscles which it is based. Each sign is like a moment of her life put on the page and the resulting narrative is confused with life itself. Then there is the exhibition on Nouvelle Bande Dessinée Belge francophone , of \u200b\u200bwhich Goblet is part of the same. I knew them years ago, during a seminar, when they were all students at the school of Saint-Luc in Brussels. In short, I saw them born, grow and destroy the narrative method and rigor of the classical comic and its codes, to cross over into other areas closer to illustration and painting. The exhibition that sums up their journey. "

On the other hand, the contemporary art exchanges today with so many references to the comic ...

"Yes, but while they pursued a job in the same language of comics, studying first at the bottom rules and then deconstruct them, what I annoys the other side is that you take only the superficial appearance of BD. Because they are a bit of consolidation. The figure has almost disappeared and the painter who designed the image really works, who has the savoir-faire, which are not illustrators, animators and cartoonists. Contemporary art is now more interested in: installation, object, space. "
Silvia Santirosi

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I the 38th Festival of Angoulême and the working-class culture. Interview with Alfred.

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(Via Po, 19 February 2011)

eight drawings (Alfred, Charles Berberian, Tanxxx, Tebo, Matthieu Bonhomme, Merwan Chabane, Mathieu Sapin, Bastien Vives) and orchestra music (that of Areski Belkasem) here the names of Concert de dessins this year. The hand trace the first signs on a white sheet and at the same moment the first notes filled the air. Thus begins the show in the theater of Angoulême, a small French town that is home for 38 years the most important comics festival in Europe. This year's edition (January 27 to 30) was all in the name of rock'n roll and reflection on working-class culture. It could only be so having regard to the presidency Baru ( L'autoroute du soleil , Poor nullity, The Angry Years Sputnik, only to remember some of his work), the undisputed master of Italian origin French . There are many surprises. The most beautiful? The Palme d'Or for Best Albo won by 5000 kilometers per second (Coconino Press, 2010), Manuele Fior graphic novel, a young talent ours. Not to mention the Grand Prix assigned to Art Spiegelman, a sacred monster of the international BD, author of Maus (this year celebrates 25 years since its first publication), which compares with the tragedy of the Holocaust and with the figure of the father survived Auschwitz.

But back where we started, ie Concert de dessins , an all-French. For an hour or so, these have suffered and rejoiced with the protagonists of the story says: love at first sight between a wrestler and partner of a "gentleman" in the public, love "different" among other wrestlers and the squire himself. Both crowned with a sweet happy ending. We talked with Alfred who is now a veteran of the team. And the talented young Frenchman who has lived for two years in Venice, has just published the book Octave (Tunué, 2010) that combines the comic book series for children created with David Chauvel.

When the idea of \u200b\u200bthe concert shows?

"Zep is the inventor, the creator of Titeuf. When he was president of the 32nd edition of the Festival of Angoulême, had the idea to combine music and comics, two closely related arts. Since 2005, therefore, every year we try to create a new project. "

How to get to the final product?

"There are two phases. Chose the group that will play, writes a story - this year by Charles Berberian - and decided the songs. When this material is ready, it is passed to designers working on the images. Two days before the concert the whole team will get together for a moment of confrontation and this is where the show begins to take shape. A form that is never final, though. Because the fact that all is done live and in the presence of an audience, sometimes require unexpected changes. "

Improvisation plays a key role.

"Thus, although the stage we have to pretend to have everything under control. Although sometimes just do not know where we're going and how will the next vignette. In addition, this year we experienced a new way that I personally have found more fun and a great source of creative energy: there were two tables on the stage and we did back and forth. In four or five we have worked with each image. Usually, however, everyone realized a cartoon and we took turns to the only table on stage. "

And in the end, what remains? You never thought of publishing the drawings made?

"No, not possible. It makes no sense. The goal is not to make a beautiful design. Are five of us on the same page and we have only three minutes. Making mistakes is part of the game and the important thing is being able to bring to life images to communicate something to the audience in the theater. Fun and exchange of emotions is the real goal. "

Silvia Santirosi

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shows a giant of Italian comic

(Via Po, 19 February 2011)

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"A knowing how to live and that I did not know how to move never rejected, nor accepted "commented Andrea Pazienza No. of his publishing house to the history of Pompey , for Pentothal aged alter ego. Why do we remember these words? Maybe not to forget that in addition to the artist, was the man Andrea Pazienza. Here's why. Born in color, paper and canvas, his father was a superb watercolorist, started painting young, stopping as soon as possible. "I could not accept" people say in an interview, "that a part of my complaint could end up in the bedroom of a builder of Monte Silvano." After art school and the period from Pescara, Andrea moved to Bologna where he attended the Dams. It is in those years created the kind of "handbook dell'irrisolto, non-integrated", also priceless testimony of the years of youth protest (among other current as ever in these days). The protagonist of these stories is precisely Andrea-Pentothal, the embodiment of the inability to experience discomfort, split between reality and dream, with his dark sense of persecution that leads to self-destruction. In an attempt to avoid the specter of conformity. Umberto Eco first, Hugo Pratt then give their blessing to these boards. They saw that the light The Extraordinary Adventures of Pentothal (Fandango, pp. 138, € 20.00) that the publisher Roman public in a book with an introduction by Enrico Palandri. Stories of ordinary everyday life where the roommates, classmates (university or corporate), women, even those with the beak of a bird, mix together characters like Buffalo Brill, General George Armstrong Custer, Don Quixote and Sancho Panza. Alternating patches of normality to visions metaphysical, all seasoned with a thousand references to art with a capital "(painting by Klimt to metaphysics, to name a few examples). Here then file at lunchtime outside the university cafeteria, which are a counterpoint to deserts or jungles that are lost horizon. "See if you see the end. You see? "Screams a voice off a balloon in the last vignette of a table. Philosophers and prophets have preached for centuries that the sense of something you read through and in light of (its) end. "Always you pay a penalty, every pleasure has its price. The price of a run barefoot on the shore is a bed full of sand, "we read in another story. One of freedom, perhaps life. Andrea Pazienza a price paid in cash. His position as a giant of Italian comic, albeit with feet of clay (genius and frailty, alas, are often accompanied by) being established. Less than an artist cultured and refined. And this book can be "useful" in this sense.

Small final note. There are still those who think that comics are literature, Series B, perhaps because of its hybrid language or novel or painting, but not only (the same holds true for genre fiction). We also know, however, that one must save its contempt given the large number of needy people. Just as taught Chateaubriand.

Silvia Santirosi